Gringo

Posted on March 8, 2018 at 12:39 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language throughout, violence and sexual content
Profanity: Constant very strong and crude language
Alcohol/ Drugs: Drugs and drug dealing, alcohol
Violence/ Scariness: Constant peril and violence with many graphic and disturbing images, characters injured and killed, guns, car chases and crashes, torture, kidnapping
Diversity Issues: Diverse characters
Date Released to Theaters: March 9, 2018

Copyright Amazon 2018
“Gringo” is the story of a hapless dupe named Harold (David Oyelowo, showing deft comic timing) who gets stuck in the middle of a lot of bad people and bad decisions.

Harold is an immigrant from Nigeria, married to Bonnie (Thandie Newton, criminally underused), and in financial trouble. “Are you saying I’m cash poor?” Harold asks his accountant. “No, I’m saying you’re poor poor, ,” he replies.

The accountant also tells Harold that his company may be merging, and he could lose his job. But Harold reassures himself that his boss Rich (Joel Edgerton) is an old friend, who has even hired Bonnie to decorate his apartment, and will not let him down. Rich reassures him as well, reminding him that he promised Harold’s life would look like a rap video if he stayed at the company. It’s obvious to us that Rich is a crook and a liar, but Harold has no clue.

Rich’s co-president of the company is Elaine (Charlize Theron, having a lot of fun as a ruthless executive whose self-pep talk includes “Who’s Daddy’s Blue Ribbon girl?”). They come along on Harold’s business trip to Mexico, where the company’s marijuana-based pills are manufactured. That merger means the end of lucrative off-the-books sales to a powerful drug dealer. And that leads to mayhem involving a fake kidnapping, a real kidnapping, a toe sent by international mail, a murder for failing to give the right answer to a question about which Beatles album is the best, a mercenary, and many betrayals.

Nash Edgerton (Joel’s brother) directs with high energy and clearly relishes very dark humor of the story, with many twists and turns as the various bad guys collide with each other. Paris Jackson (Michael’s daughter) has an impressive cameo as a girl enticing a hapless guitar salesman into helping her steal some of those marijuana pills. If you like your crime stories to be nicely nasty, this one does the trick.

Parents should know that this film includes extensive and graphic violence, chases, shootouts, torture, disturbing images, many characters injured and killed, drugs and drug dealing, alcohol, very explicit sexual references and situations, and very strong and crude language.

Family discussion: Was Harold’s father wrong? Why was it hard for him to see what was happening? What is the point of the banana/carrot story?

If you like this, try: “Big Trouble” and “Midnight Run” and, also from the Edgerton brothers, “The Square” (not the recent Cannes award-winner, the Australian crime drama)

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Game Night

Posted on February 22, 2018 at 10:54 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language, sexual references and some violence
Profanity: Some strong language
Alcohol/ Drugs: Alcohol, drug references
Violence/ Scariness: Extended comic peril and violence, characters injured and killed, guns, knives, chases
Diversity Issues: None
Date Released to Theaters: February 23, 2018

Kylie Bunbury, from left, Lamorne Morris, Billy Magnussen, Sharon Horgan, Jason Bateman and Rachel McAdams in “Game Night.” (Warner Bros.)
“Game Night” is yet another raunchy action comedy about (mostly) white suburbanites who accidentally get in over their heads with criminals and manage to work through their personal issues as they win out over the bad guys with a combination of luck, plot contrivances, and learning opportunities. Thanks to winning performances from the always-reliable Jason Bateman and Rachel McAdams this little trip from boringtown to crazytown and back is watchable, with a few clever twists and across the board strong support from the cast.

Max (Bateman) and Annie (McAdams) share a strong competitive streak, a love for games of all kinds (their wedding reception featured a Dance Dance Revolution machine), and a fertility problem, that, in the fairy tale world of this movie, seems to be attributable to Max’s stress over his more successful brother, Brooks (Kyle Chandler). When Brooks returns after a year in Europe just in time for game night at Max and Annie’s house, Brooks’ passive aggressive and sometimes just aggressive needling just adds to the stress.

The regulars at game night are Kevin (Lamorne Morris of “New Girl”) and Michelle (Kylie Bunbury), a couple since middle school who get caught up in a conflict over a sexual encounter one of them might have had when they were on a Ross and Rachel-style break, and Billy (Billy Magnussen), a dimwit who brings a different and even dimmer girl every time. At one time, the group included the next door neighbors Gary (Jesse Plemons), a cop, and his wife Diane, but after their divorce Max and Annie stopped inviting Gary because he is kind of creepy.

Brooks invites everyone to the house he has rented for the next game night and promises it will be bigger and better than ever. This time, Billy brings a date who’s got game, Sarah (“Catastrophe’s” Sharon Horgan). Brooks tells them he has hired one of those companies that stages fake crimes for them to solve and the prize is the vintage red Stingray that was Max’s dream car. Just as it begins, though, Brooks is kidnapped for real, which everyone thinks is part of the game. Mayhem, and occasional hilarity, ensue, too often undercut by unnecessary sloppiness in the screenplay, which subverts its own tired premises for no particular reason. All of the highlights of the film are in the trailer except for a funny sequence at the beginning of the credits. If they had given the same attention to detail to the rest of the film, Max and Annie would really be winners.

Parents should know that this film includes some strong and crude language, extended comic peril and violence with some grisly and disturbing images, guns, punches, chase, knife, characters injured and killed, and sexual references including fertility issues.

Family discussion: What makes some people extra competitive? What’s your favorite game? How do gaming skills help these characters solve problems?

If you like this, try: “Date Night”

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Early Man

Posted on February 15, 2018 at 12:00 pm

B
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for rude humor and some action
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Comic peril and threats of violence
Diversity Issues: A theme of the movie
Date Released to Theaters: February 16, 2018
Copyright 2018 Summit

Even lesser Aardman is still worth watching. “Early Man” is decidedly lesser Aardman than the sublime “Wallace and Gromit” series and “Shaun the Sheep,” but that still makes it a pleasant little treat.

The “early men” are Stone Age denizens Dug (Eddie Redmayne) and his friends, led by the Chief (Timothy Spall), who appears to be quite elderly, but that’s by Stone Age standards. He’s in his 30’s. These people are extremely primitive. They live in caves and their most advanced technology is Flintstones-style use of animals (beetles as hair clippers, tiny crocodiles as clothespins for what barely, and I mean that literally, qualify as clothes). They are not quite sure what it means to be human, and I mean that literally as well. One “member” of their group is a boulder they refer to as “Mr. Rock.” They barely qualify as hunter/gatherers. While they go out with spears every day to try to get rabbits to eat, they are not very good at communicating with each other, or aiming, or hitting anything they aim at.

And then one day their idyllic little territory is invaded by a group riding armor-clad mammoths. It is the Bronze Age and they want to take over the area for mining. Ultimately, it will come down to an unusual but rather progressive way for solving border disputes: a soccer game (which they call football). On one side, champions who are highly skilled professionals with lots of experience but are arrogant prima donnas. On the other side, a bunch of people who have not yet invented the wheel and have never played before. But they have two advantages: a gifted Bronze Age player who has never been allowed on the field because she is a woman (now you know why we call sexism prehistoric), and, just possibly, the ability to work together as a team.

I am a devoted Anglophile, but got the strong sense that some of the references went past me and are only understandable to true insiders, especially those who follow soccer, I mean football. Some of Aardman’s quirky whimsy flickers in now and then. The opening title cards tell us when and where we are: “The Neo-Pleistocene Era”/“near Manchester”/“around lunchtime”). The message bird played by “The Trip’s” Rob Brydon is very funny, too, and the tactile, bug-eyed goofiness of the Aardman characters is always endearing.

Parents should know that there is some comic peril and violence and threatened more serious violence as well as some schoolyard language and potty humor.

Family discussion: Why did the Bronze Age community develop when the Stone Age did not? Will the Stone Age people try to get some of the advantages of the Bronze Age? Why did learning about the past make them doubt themselves?

If you like this, try: “The Crudes” and the “Wallace and Gromit” and “Shaun the Sheep” series

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The Party

Posted on February 15, 2018 at 11:50 am

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language and drug use
Profanity: Very strong language
Alcohol/ Drugs: Alcohol, drugs
Violence/ Scariness: Satiric violence including punches, gun
Diversity Issues: A theme of the movie
Date Released to Theaters: February 16, 2018

Copyright 2018 Rhodeside Attractions
“The Party” is a short, savagely funny, black and white film from writer/director Sally Potter with an all-star cast moving at light speed through a real-time gathering that goes very quickly from a celebration to a political and emotional bloodbath.

It does start out as a party. Hostess and honoree Janet (Kristin Scott Thomas) has just achieved her professional goal by being appointed to the British cabinet position overseeing health care. She is busy in the kitchen making vol au vent, barely aware of her husband, Bill (Timothy Spall), who is sitting dolefully in the living room, playing jazz on old-school analog LPs.

The guests start to arrive. Janet’s oldest friend April (Patricia Clarkson) is a sharp-tongued cynic, escorted by Gottfried (Bruno Ganz), a German believer in spiritual healing who calls Western medicine “voodoo.” April continuously demeans him, explaining that they are about to break up. Martha (Cherry Jones) is Janet’s political ally, but she will soon be distracted by news from her pregnant wife Jinny (Emily Mortimer). Everyone is so distracted that they barely notice Tom (Cillian Murphy), who works in finance and arrives ahead of his wife Marianne and immediately goes to the bathroom to snort some cocaine. Also, he has a gun.

As the vol au vent burns, a daisy chain of accusation, recrimination, confession, and betrayal rocks the group and challenges their most fundamental notions of who they are as individuals, as upholders of particular political views that they consider essential parts of themselves, and as people who thought they understood their connections to each other.

It’s in stunning black and white, but we imagine the shower of virtual crimson blood from the verbal rapier thrusts and real-life punches at this most savage of celebrations. What is intended to be a small gathering of close friends to congratulate the hostess on her important new cabinet position unfolds in real time as series of attacks, revelations, betrayals, and, yes, political metaphors. Brilliantly performed by some of the greatest actors from both sides of the Atlantic with dialog that crackles like static electricity, it is directed at the high speed of a drawing room comedy but with knowing, devastating impact by Potter.

Parents should know that this movie has very strong and explicit language and many tense and unhappy confrontations. Characters drink and use drugs and threaten gun violence.

Family discussion: Is Janet a hypocrite about healthcare when she responds to Bill’s announcement? Why is it hard for Martha to respond the way Jinny wants her to? Why did Tom come to the party?

If you like this, try: Potter’s other films, including “Yes,” “Orlando,” and “The Tango Lesson”

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Peter Rabbit

Posted on February 8, 2018 at 11:11 am

C
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for some rude humor and action
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Comic peril and violence, explosions, electrocutions, references to sad parental deaths and killing animals, human character collapses and dies
Diversity Issues: None
Date Released to Theaters: February 9, 2018

Copyright 2017 Sony
We’re only six weeks in, and we’ve already had two live action/animation adaptations of beloved British classics of children’s literature, both starring members of the Gleeson family. One will go down in history as an example of how to do it right and the other, if it must remembered at all, will be the example of how to do it wrong. For the record, Paddington 2, starring Brendan Gleeson, captured the gentle charm of the stories because it trusted its source material and it trusted its audience. But “Peter Rabbit,” based on the books and paintings by Beatrix Potter, tries to make the classic story of a bunny who ignores his mother’s warning and almost gets caught by the farmer when he steals into the garden into a hyped-up, wink-at-the-crowd mess of slapstick, meta-narrative, and story of love and redemption. By trying to be contemporary, it loses the very qualities that have made it beloved in generations of nurseries.

As in the original book, before the story begins Peter’s father was captured by Mr. McGregor (Sam Neill) and eaten in a pie. Unlike the book, Peter’s mother is gone, too, and he is responsible for his sisters, Flopsy, Mopsy, and Cottontail and his cousin, Benjamin Bunny. Peter (voice of James Corden) is reckless and over-confident, leading Benjamin into the garden, which McGregor has covered with scary-looking steel traps. “There are other ways to get a meal,” he’s warned. “But not as fun!” Peter says, happy to risk not just his own life, but the others’ as well.

Peter deftly avoids the traps, but almost ends up in a pie himself, escaping by slipping out of his denim jacket, which McGregor uses on a (tiny) scarecrow. Aiding his rescue is McGregor’s neighbor, Bea (as in Beatrix Potter), a sweet-spirited artist who lives next door and is a friend to all of the local animals.

When Peter goes back to retrieve his jacket, McGregor catches him. It is almost too late for him to save himself when suddenly McGregor, like Don Corleone in “The Godfather,” has a sudden heart attack in the garden, collapses and dies. Though Peter takes credit for vanquishing his foe, the narrator (Margot Robbie) assures us that his death is attributable to “78 years of bad lifestyle choices,” with a merry little montage of McGregor inhaling asbestos and eating high-fat food. Really?

This, of course, is not in the book, is completely unnecessary to the storyline, and is likely to raise concerns in some of the young viewers, especially after Peter brags that he made it happen.

The property is inherited by another Mr. McGregor (Domhnall Gleeson), a persnickety control-freak of a great-nephew who barely knew he had a great-uncle with a farm and never met him. Thomas McGregor works for the famous Harrods department store, where he has a complete meltdown after being denied a promotion due to nepotism. If all of this seems superficial and unnecessary, that is because it is.

His arrival at the farm brings mayhem as he battles Peter and the rest of the local critters for the vegetable garden and the house, trying not to let his pretty neighbor know that he is not as much of an animal-lover as she is.

The movie opens with soaring birds singing an uplifting ballad — and then getting smushed, which becomes a repeated gag. So from the beginning, this film undercuts itself, winking at the audience and then trying to take it back. A joke about today’s parents’ oversensitivity to allergies is followed by “just kidding; don’t write letters!” “Don’t explain the joke,” Benjamin Bunny says. But that’s just what the movie does, constantly unsure of its focus and tone. Some sweet moments and lovely animation cannot make up for a film that is, to use a food metaphor, overstuffed and yet undernourished.

Parents should know that this movie includes some comic peril and violence, but a human character collapses and dies and there are references to the sad loss of Peter Rabbit’s parents, including his father’s being made into a pie, brief potty humor, some body shaming, and schoolyard language.

Family discussion: What did the characters learn about apologizing? Should farmers let animals eat their crops? What is your character flaw?

If you like this, try: “Babe,” “Paddington” and “Paddington 2,” and “Miss Potter,” with as Renee Zellweger as Beatrix Potter and Ewan McGregor as her publisher

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